Raw Blues is a collection of out takes, singles and newly recorded tracks, the listening pleasure derives from the juxtapostion of tracks by veteran American bluesmen and the up and coming British artists they inspired. John Mayall has the lion's share of the set, playing on eight of the fourteen tracks, including two solo numbers; on the American side, the great Otis Spann has four and they are among the set's strongest. Spann's tracks were recorded in 1964, with a band that included Muddy Waters on slide guitar - featured prominently on "My Home in the Desert" - and you can hear his influence on Eric Clapton's playing still, almost forty years later. Compare his playing today to the opener, Spann's "Pretty Girls Everywhere" which has E.C. himself on lead and Muddy playing rhythm - the then Yardbird sounds much closer to Chuck Berry's St. Louis than the Mississippi Delta. Clapton gets a more "authentic" deep blues feel on Champion Jack Dupree's "Calcutta Blues". Dupree was backed on his two numbers by an all star British band, including John Mayall on harmonica. Mayall's harp work on these numbers is exemplary - capturing a true Chicago blues feel. John Mayall most likely had Otis Spann in mind while recording both "Bernard Jenkins" with Eric Clapton in 1965 and also when supporting Peter Green on "Evil Woman Blues" in '66. Once again, it's the chance to hear these tracks so close together that provides the insights into both. With "Bernard Jenkins", Clapton was playing in support of John Mayall, and the two develop an interesting variation of an electrified Chicago blues sound. With "Evil Woman Blues", it is Mayall playing support - and there is no attempt at emulating an existing style - this is Green developing his trademark sustain laden tone - although you can hear Clapton's influence in the structure of the solo. What should not be underestimated however is Mike Vernon's production on all of these tracks - by arrranging for the older American artists to go overseas to be recorded, and the resulting works sent back to America, where they were "discovered" by a whole new audience, and by allowing the younger British players the opportunity to meet and play with those they'd only heard on record, he helped shape a generation of musicians.